> ...the essential underlying play between the technology itself, theuse of it and the [seemingly unrelated] outcome...
'outcome'?
and I guess also the marketing 'presence'... [by that I mean how academics, curators and journalists like to try interpret it for us]
'marketing'?
there's 'marketing' pr and then there's insightful criticism. the two should be distinguished,
though they are sometimes present in the same piece of writing. and criticism plays an important
role in the art beyond 'marketing', wouldn't you say? walt whitman said something like 'great
poetry demands a great audience'. part of what he meant is that it cannot exist without a great
audience, they arise together, the poet and the audience for which there is something important
at stake in the poetry and the state of the language.
I was thinking about how anyone would|could define and recognise a 'fake' hypertext and how the creative|interpretive|cognitive processes work in ourselves to lead us through these experiences.
'fake' in what sense?
that was also my question... [as with christina mcphee] What is real about a hypertext and could it be 'faked'...
i have tried to drag poetry along with me for twenty-five years. sometimes you have to let go,
it's true, but it's all around.
the works themselves will probably not survive. mine or many others', particularly given that
they are exe's or read by other exe's. a lifetime of work can eventually boil down to changes in
how people think of a word like 'poetry' (and its relations to other words like 'art').